In Broadcast - March 2012 - 50

WWW.INBROADCAST.COM | ISSUE 6 - MARCH 2012

InAUDIO
Audio Production And Monitoring Much More Than Just A Phase Cont.

Dolby LM100 loudness meter

widely available on all TV networks, particularly for live events. It still has to be considered, though, as 5.1 is regarded as the natural partner for HD. Experiments continue into more immersive formats, such as Ambisonics (surround sound that gives a sensation of height and depth as well as horizontal width and length), which could be part of higher deﬁnition or 3D TV services. Dolby continues to take a large proportion of the surround sound for TV market with its Dolby Digital system. In recent years it has introduced Dolby Digital Plus, which can deliver up to 7.1 channels at lower bandwidths. DTS is still an important player in this market, with its Neural Surround format used by a number of broadcasters for covering major events, including the recent Super Bowl in the US.

Capping Loudness

A recent addition to many audio monitoring systems is loudness capability, which allows the unit to monitor and, in some cases, control programme loudness to ensure there are no discrepancies in the perceived volume level of diﬀerent types of material. This is now a vital monitoring function due to regulations introduced in an increasing number of countries. The core standard for measuring and dealing with loudness is ITU-R BS 1770 (updated last year as 17702); there are national and region variations on this, with EBU R128 in Europe and ATSC A/85 in the US. This specialised and subjective area of audio engineering is well catered for in equipment terms, with a wide range of meters and control monitors now on the market from manufactures including DK Technologies, TC Electronic, RTW, Jünger Audio, Dolby, Chromatec and Dorrough. Audio metering is at the heart of the product ranges of many of these manufacturers, including DK, which now produces the compact DK1 and DK loudness meters and MSD100C stereo unit, among others. The company’s Sales and Marketing Director, Richard Kelley, says the attitude of broadcasters and facilities should be to “get loudness right from the start” and correct monitoring and

metering is the key to this. “There is the opportunity to ﬁx something in the mix,” he comments, “but if something is wrong, it is wrong. Our products allow both audio and video to be checked from beginning to end.” Included in the TC Electronic range are the LM2 and TouchMonitor TM7 and TM9 metering systems. Recent installations of TM9 TouchMonitors have included Technology and Production Center Switzerland in Zurich and RTS, Geneva. “I am confident that these loudness meters will be key for us not only to comply with EBU’s R128 broadcast standard today but also to stay compliant with future standards,” comments Yannick Dumartineix, Head of Audio Production at RTS.” RTW produces OEM versions of the TouchMonitor series and recently supplied 12 TM9s to ProSiebenSat.1 Produktion. The manufacturer also has its own ranges, including the 11900 for 5.1, 6.1 and 7.1 surround, multichannel and two-channel stereo and the Digital Monitor, which

oﬀers facilities for AES/EBU status and real-time analysis as well as loudness. Jünger Audio developed its own algorithm, Level Magic, which complies with both 1770 and R128 and is available in its loudness monitors and the T*AP (Television Audio Processor) system. The T*AP monitors AES/EBU, SDI, embedded, uncompressed and Dolby compressed signals in addition to loudness processing. Chief Executive Peter Pörs says the company has been working with embedded audio for the past 15 years, so oﬀering this kind of monitoring is nothing new: “With multi-channel TV services people need to create a solution that has the required number of SDIs, with everything combined on one crate [rack system].” Dolby produces both the LM100 broadcast loudness meter and the DP600 programme optimiser, which monitors and processes material in the bit stream. But for the future Rob France, Senior Product Marketing Manager for Dolby’s Professional

Broadcast Solutions division, sees a time when loudness monitoring and metering will be a component of an overall audio monitor or processor that performs other functions as well. General audio monitoring products with this capability are on the market now, including TSL’s PAM2-3G16, which can be conﬁgured for both BS 1770 and R128. “R128 is the default and most broadcasters work to either that or A/85 but some still have their own target levels, so having a conﬁgurable system suits them,” explains Dyster. Wohler’s AMP1-16-3G conforms to 1770, as well as delivering 16 channel, multi-rate 3G/HD/SD-SDI and AES audio monitoring with Dolby capability. With the demands put on audio monitoring in general production becoming ever greater, Wohler’s Terry Allford concludes that “it is up to us as manufacturers to deliver systems not just for now but that will go into the future”. ■

TC Electronic TM9 metering systemsat

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In Broadcast - March 2012

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